Podcasts about dance history

Podcast: In Our Time Episode: The WaltzRelease date: 2024-04-11Get Podcast Transcript →powered by Listen411 - fast audio-to-text and summarizationMelvyn Bragg and guests discuss the dance which, from when it reached Britain in the early nineteenth century, revolutionised the relationship between music, literature and people here for the next hundred years. While it may seem formal now, it was the informality and daring that drove its popularity, with couples holding each other as they spun round a room to new lighter music popularised by Johann Strauss, father and son, such as The Blue Danube. Soon the Waltz expanded the creative world in poetry, ballet, novellas and music, from the Ballets Russes of Diaghilev to Moon River and Are You Lonesome Tonight.WithSusan Jones Emeritus Professor of English Literature at the University of OxfordDerek B. Scott Professor Emeritus of Music at the University of LeedsAndTheresa Buckland Emeritus Professor of Dance History and Ethnography at the University of RoehamptonProducer: Simon TillotsonReading list: Egil Bakka, Theresa Jill Buckland, Helena Saarikoski, and Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century, (Open Book Publishers, 2020)Theresa Jill Buckland, ‘How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack' (Dance Research, 36/1, 2018); ‘Part Two: The Waltz Regained' (Dance Research, 36/2, 2018)Theresa Jill Buckland, Society Dancing: Fashionable Bodies in England, 1870-1920 (Palgrave Macmillan, 2011)Erica Buurman, The Viennese Ballroom in the Age of Beethoven (Cambridge University Press, 2022) Paul Cooper, ‘The Waltz in England, c. 1790-1820' (Paper presented at Early Dance Circle conference, 2018)Sherril Dodds and Susan Cook (eds.), Bodies of Sound: Studies Across Popular Dance and Music (Ashgate, 2013), especially ‘Dancing Out of Time: The Forgotten Boston of Edwardian England' by Theresa Jill BucklandZelda Fitzgerald, Save Me the Waltz (first published 1932; Vintage Classics, 2001)Hilary French, Ballroom: A People's History of Dancing (Reaktion Books, 2022)Susan Jones, Literature, Modernism, and Dance (Oxford University Press, 2013)Mark Knowles, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (McFarland, 2009)Rosamond Lehmann, Invitation to the Waltz (first published 1932; Virago, 2006)Eric McKee, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time (Indiana University Press, 2012)Eduard Reeser, The History of the Walz (Continental Book Co., 1949)Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, Vol. 27 (Macmillan, 2nd ed., 2000), especially ‘Waltz' by Andrew LambDerek B. Scott, Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (Oxford University Press, 2008), especially the chapter ‘A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz'Joseph Wechsberg, The Waltz Emperors: The Life and Times and Music of the Strauss Family (Putnam, 1973)Cheryl A. Wilson, Literature and Dance in Nineteenth-century Britain (Cambridge University Press, 2009)Virginia Woolf, The Voyage Out (first published 1915; William Collins, 2013)Virginia Woolf, The Years (first published 1937; Vintage Classics, 2016)David Wyn Jones, The Strauss Dynasty and Habsburg Vienna (Cambridge University Press, 2023)Sevin H. Yaraman, Revolving Embrace: The Waltz as Sex, Steps, and Sound (Pendragon Press, 2002)Rishona Zimring, Social Dance and the Modernist Imagination in Interwar Britain (Ashgate Press, 2013)

Dance Interactive Video Excerpts of Tap Performances at Jacob's PillowDance Interactive Multimedia Essays on Tap curated by Brian Seibert 

Melvyn Bragg and guests discuss the dance which, from when it reached Britain in the early nineteenth century, revolutionised the relationship between music, literature and people here for the next hundred years. While it may seem formal now, it was the informality and daring that drove its popularity, with couples holding each other as they spun round a room to new lighter music popularised by Johann Strauss, father and son, such as The Blue Danube. Soon the Waltz expanded the creative world in poetry, ballet, novellas and music, from the Ballets Russes of Diaghilev to Moon River and Are You Lonesome Tonight. With Susan Jones Emeritus Professor of English Literature at the University of Oxford Derek B. Scott Professor Emeritus of Music at the University of Leeds And Theresa Buckland Emeritus Professor of Dance History and Ethnography at the University of Roehampton Producer: Simon Tillotson Reading list: Egil Bakka, Theresa Jill Buckland, Helena Saarikoski, and Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century, (Open Book Publishers, 2020) Theresa Jill Buckland, ‘How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack' (Dance Research, 36/1, 2018); ‘Part Two: The Waltz Regained' (Dance Research, 36/2, 2018) Theresa Jill Buckland, Society Dancing: Fashionable Bodies in England, 1870-1920 (Palgrave Macmillan, 2011) Erica Buurman, The Viennese Ballroom in the Age of Beethoven (Cambridge University Press, 2022) Paul Cooper, ‘The Waltz in England, c. 1790-1820' (Paper presented at Early Dance Circle conference, 2018) Sherril Dodds and Susan Cook (eds.), Bodies of Sound: Studies Across Popular Dance and Music (Ashgate, 2013), especially ‘Dancing Out of Time: The Forgotten Boston of Edwardian England' by Theresa Jill Buckland Zelda Fitzgerald, Save Me the Waltz (first published 1932; Vintage Classics, 2001) Hilary French, Ballroom: A People's History of Dancing (Reaktion Books, 2022) Susan Jones, Literature, Modernism, and Dance (Oxford University Press, 2013) Mark Knowles, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (McFarland, 2009) Rosamond Lehmann, Invitation to the Waltz (first published 1932; Virago, 2006) Eric McKee, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time (Indiana University Press, 2012) Eduard Reeser, The History of the Walz (Continental Book Co., 1949) Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, Vol. 27 (Macmillan, 2nd ed., 2000), especially ‘Waltz' by Andrew Lamb Derek B. Scott, Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (Oxford University Press, 2008), especially the chapter ‘A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz' Joseph Wechsberg, The Waltz Emperors: The Life and Times and Music of the Strauss Family (Putnam, 1973) Cheryl A. Wilson, Literature and Dance in Nineteenth-century Britain (Cambridge University Press, 2009) Virginia Woolf, The Voyage Out (first published 1915; William Collins, 2013) Virginia Woolf, The Years (first published 1937; Vintage Classics, 2016) David Wyn Jones, The Strauss Dynasty and Habsburg Vienna (Cambridge University Press, 2023) Sevin H. Yaraman, Revolving Embrace: The Waltz as Sex, Steps, and Sound (Pendragon Press, 2002) Rishona Zimring, Social Dance and the Modernist Imagination in Interwar Britain (Ashgate Press, 2013)

Melvyn Bragg and guests discuss the dance which, from when it reached Britain in the early nineteenth century, revolutionised the relationship between music, literature and people here for the next hundred years. While it may seem formal now, it was the informality and daring that drove its popularity, with couples holding each other as they spun round a room to new lighter music popularised by Johann Strauss, father and son, such as The Blue Danube. Soon the Waltz expanded the creative world in poetry, ballet, novellas and music, from the Ballets Russes of Diaghilev to Moon River and Are You Lonesome Tonight. With Susan Jones Emeritus Professor of English Literature at the University of Oxford Derek B. Scott Professor Emeritus of Music at the University of Leeds And Theresa Buckland Emeritus Professor of Dance History and Ethnography at the University of Roehampton Producer: Simon Tillotson Reading list: Egil Bakka, Theresa Jill Buckland, Helena Saarikoski, and Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century, (Open Book Publishers, 2020) Theresa Jill Buckland, ‘How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack' (Dance Research, 36/1, 2018); ‘Part Two: The Waltz Regained' (Dance Research, 36/2, 2018) Theresa Jill Buckland, Society Dancing: Fashionable Bodies in England, 1870-1920 (Palgrave Macmillan, 2011) Erica Buurman, The Viennese Ballroom in the Age of Beethoven (Cambridge University Press, 2022) Paul Cooper, ‘The Waltz in England, c. 1790-1820' (Paper presented at Early Dance Circle conference, 2018) Sherril Dodds and Susan Cook (eds.), Bodies of Sound: Studies Across Popular Dance and Music (Ashgate, 2013), especially ‘Dancing Out of Time: The Forgotten Boston of Edwardian England' by Theresa Jill Buckland Zelda Fitzgerald, Save Me the Waltz (first published 1932; Vintage Classics, 2001) Hilary French, Ballroom: A People's History of Dancing (Reaktion Books, 2022) Susan Jones, Literature, Modernism, and Dance (Oxford University Press, 2013) Mark Knowles, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (McFarland, 2009) Rosamond Lehmann, Invitation to the Waltz (first published 1932; Virago, 2006) Eric McKee, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time (Indiana University Press, 2012) Eduard Reeser, The History of the Walz (Continental Book Co., 1949) Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, Vol. 27 (Macmillan, 2nd ed., 2000), especially ‘Waltz' by Andrew Lamb Derek B. Scott, Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (Oxford University Press, 2008), especially the chapter ‘A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz' Joseph Wechsberg, The Waltz Emperors: The Life and Times and Music of the Strauss Family (Putnam, 1973) Cheryl A. Wilson, Literature and Dance in Nineteenth-century Britain (Cambridge University Press, 2009) Virginia Woolf, The Voyage Out (first published 1915; William Collins, 2013) Virginia Woolf, The Years (first published 1937; Vintage Classics, 2016) David Wyn Jones, The Strauss Dynasty and Habsburg Vienna (Cambridge University Press, 2023) Sevin H. Yaraman, Revolving Embrace: The Waltz as Sex, Steps, and Sound (Pendragon Press, 2002) Rishona Zimring, Social Dance and the Modernist Imagination in Interwar Britain (Ashgate Press, 2013) Spanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Melvyn Bragg and expert guests explore the characters, events and discoveries that have shaped our world.

Join "Dance Talk” ® with Joanne Carey and special guests Stevn Melendez and Wendy Perron.In this episode of "Dance Talk” ® , host Joanne Carey engages with Steven Melendez, the artistic director of New York Theatre Ballet, and Wendy Perron, a dance historian and former editor of Dance Magazine. They discuss the significance of Judson Dance Theater, its impact on modern dance, and how its philosophies resonate with contemporary dance practices.The conversation explores the challenges of restaging historical works, the importance of audience engagement, and the political context of dance as a form of protest and expression.The episode culminates in a preview of an upcoming performance that aims to bridge the past and present of dance April 23-26.The Judson Dance Theater was a pioneering experimental dance collective that operated in New York City from 1962 to 1964. They performed at Judson Memorial Church in Greenwich Village, known for its social and artistic activism. Judson Dance Theater is widely recognized as a key force in the development of postmodern dance and its avant-garde approach influenced subsequent generations of choreographers. Steven Melendez was born in New York City in 1986 and started his ballet training with the LIFT Program at Ballet School New York at the age of 7. He has danced as a Soloist dancer with Ballet Concierto in Buenos Aires, Argentina, a Principal dancer with The Vanemuine Theater Ballet Company in Tartu, Estonia, and for over 15 years with New York Theatre Ballet. He was a national and international guest artist and teacher and has worked across Europe, Asia, and Central and South America. Steven co-choreographed his first large-scale work, Song Before Spring, for New York Theatre Ballet which was named a Dance Europe critic's choice “Best Premiere” of 2016. Steven is currently a member of the alumni advisory committee on diversity and inclusion for School of American Ballet and served as the Hiland Artistic Director for National Dance Institute New Mexico. Steven was named as the Artistic Director of New York Theatre Ballet in April of 2022Wendy Perron is a dancer/choreographer turned writer/editor/scholar. She trained in modern dance and ballet and earned a BA from Bennington College and an MA from SUNY Empire State College. She danced with the Trisha Brown Company in the 1970s and choreographed more than 40 works for her own group, which received commissions from Lincoln Center Festival, the Joyce Theater, Jacob's Pillow, and the Danspace Project. Perron has taught at Bennington, Princeton, NYU Tisch School of the Arts, and the Conservatory at SUNY Purchase. In the early 1990s she served as associate director of Jacob's Pillow. She was the editor in chief of Dance Magazine from 2004 to 2013, and has also written for the New York Times, the Village Voice, vanityfair.com, and journals in Europe and China. An authority on Judson Dance Theater and postmodern dance, Perron has lectured across the country and in Russia and China. In 2011 she was the first dance artist to be inducted into the New York Foundation for the Arts' Hall of Fame. Her second book, The Grand Union: Accidental Anarchists of Downtown Dance, 1970-1975, met with acclaim when it was published in 2020. She has recently performed with Yoshiko Chuma and the School of Hard Knocks in downtown venues. Her new online series, “Unsung Heroes of Dance History,” presents research on dance artists outside the “canon.” She has been on the Juilliard faculty since 2019.To see this performancehttps://nytb.org/tickets“Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ https://dancetalkwithjoannecarey.com/Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share. Please leave a review! “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Guests: Angela Carter and Caleb TeicherHosted by Courtney Ortiz & Lesley MealorIn the second Genre Spotlight episode of Season 6, we are joined by two tap dance professionals to get specific about rhythm tap (if there were such a thing). Tune in to hear more about that caveat!Topics Include:Why there might feel like there is a difference between tap stylesWhat judge or audience expectations there might be when attending a regular dance competition with a tap danceWhy tap dance sometimes gets the short end of the stick in dance trainingHelp support our podcast. Join Making The Impact's Platinum Premium Subscription today! Your membership includes:Monthly Q&A episodes released to members onlyPriority to have your questions answered each month on the live Q&A.Ad-free listening for all of Season 4, 5 & 6. No sponsored ads!20% off all IDA MerchandiseExclusive bonus content released throughout the yearDiscounted IDA Online CritiqueGroup Zoom check-ins 3x per season with Courtney Ortiz!Your support helps us produce future episodes of Making The Impact for years to come!Making The Impact's Platinum Premium - Sign up now for only $5/month!Check out our guest's upcoming projects: Find out when Caleb is performing next on their website: www.calebteicher.netLearn more about Andrea's tap intensive Tap Into The NetworkThis episode is sponsored by:Francisco Gella Dance Works Educational and developmental programs, intensives, and seminars designed to empower students, parents, educators, and artists.Register now for an upcoming intensive, workshop or seminar! CapezioGet a free “Everyday Dance Duffle” bag with any purchase. To redeem, add the Everyday Dance Duffle style #B246 to your cart and use code IMPACT at checkout, while supplies last.Check out our service: IDA Online Judge's CritiquesSend us a video of your dance and an IDA Judge will critique your routine! You can request a genre-specific specialty judge or add on 10 minutes of additional feedback. 24 hour rush delivery available! Submit your video now! Follow your Hosts & Guests!Courtney Ortiz - @courtney.ortizLesley Mealor  - @miss.lesley.danceAngela Carter - @angelacarter.coCaleb Teicher - @CalebTeicherJoin our NEW Facebook Group and connect with us! Making The Impact - A Dance Competition Podcast Community Leave us a review on Apple Podcasts! We would love to hear from you! Join our Newsletter for weekly episode releases straight to your inbox! Follow us on social media at @impactdanceadjudicators and for a list of IDA Affiliated dance competitions, visit our website at www.impactdanceadjudicators.comSupport the show

Full PillowTalk including commentary on video excerpts of the company's repertoire: https://www.youtube.com/watch?v=0VzzAG70B3o Video playlist 'Gotta Laugh' featuring excerpt of Paquita by Les Ballets Trockadero de Monte Carlo: https://danceinteractive.jacobspillow.org/playlists/gotta-laugh/ Video excerpt of Swan Lake by Les Ballets Trockadero de Monte Carlo: https://danceinteractive.jacobspillow.org/les-ballets-trockadero-de-monte-carlo/le-lac-des-cygnes-swan-lake-act-ii/  

On this edition of The Arts Section, host Gary Zidek takes a closer look at a new partnership that aims to make Chicago's dance history more accessible. The Dueling Critics, Kelly Kleiman and Jonathan Abarbanel, join Gary to review a new production of the Pulitzer Prize winning play, DINNER WITH FRIENDS. Later in the show, Gary talks to the director of a new touring production of ANNIE, that's coming to Chicago. Gary looks back the incredible life of Quincy Jones. And we'll hear about a exhibit in Wheaton that commemorates the bravery of the soldiers who fought on D-Day.

Christian Warner hosts this episode focused on the human body's capacity to navigate collective grief, moving toward not only healing,  but self-actualization. Warner is a Black interdisciplinary performer, choreographer, and director. He shares his own  experiences as well as excerpts from conversations with dance artists Dormeshia, Camille A. Brown, Ronald K. Brown, and their collaborators.https://www.christianawarner.com/

In this episode of PillowVoices, we bring you an interview with choreographer Yin Mei. PillowScholar Suzanne Carbonneau sat down with Yin Mei to discuss her work titled Empty Traditions / City of Peonies in August, 1999. In a 1999 interview with Pillow Scholar Suzanne Carbonneau, Yin Mei talks about growing up in China during the Cultural Revolution, which stripped people of their history and traditions. She speaks of how her work combines her past with contemporary concerns, as she investigates and reclaims her heritage. Watch a clip of Empty Traditions / City of Peonies: https://danceinteractive.jacobspillow.org/yin-mei/empty-tradition-city-of-peonies/

In this episode, professor and choreographer Silvana Cardell contextualizes the work of the Mimulus Dance Company through the lens of adjacent histories and influences: Cardell from Argentina and Mimulus from Brazil.Watch a clip of Por Um Fio:https://danceinteractive.jacobspillow.org/mimulus-dance-company/por-um-fio/Insights and influences, Silvana Cardell:In Buenos Aires, Cardell learned under the mentorship of Chilean choreographer Ana Itelman and grew up attending  Oscar Araiz's performances. From them, she understood what it took to become an artist. Their work was influenced by German expressionism's emotional depth and American dance's physicality. Iteman and Araiz were former students of German soloist dancer Dore Hoyer and American choreographer Miriam Winslow, who was strongly connected to Jacob Pillow, first as a Denishwan student in 1932 and later returning in the 1940s to perform her own work. These influences, along with a strong foundation in contemporary dance forms, ballet training, and traditional Argentinean dance forms, determined the quality of Cardell's early work, which connects to the Mimulus Dance Company's style. Pursuing artistic growth, influenced by teacher Ana, who had been faculty at Bard College, Cardell moved between Buenos Aires and the U.S. throughout the late 1980s, first as a student at The University of the Arts,  finally settling in the U.S. in 2004 after graduating with an MFA at Temple University.  Her educational journey in Philadelphia led to work with key figures in the dance community, such as Manfred Fishbeck and Merian Soto, mentors and collaborators who fostered a creative dialogue that extends into her creative work, today.  

Jennifer Edwards hosts this episode honoring the life and legacy of former New York City Ballet dancer, Jacques d'Amboise, in his own words. Recorded during his only Pillow appearance in 2008, d'Amboise reflects on his beginnings as a dancer and his efforts to welcome more young people into his beloved art form.

In this episode, NCCAkron's Executive/Artistic Director, Christy Bolingbroke enters the 'studio' with Phoenix, Arizona-based artist and activist Ruby Morales. Morales describes her work as that of a ‘dance artivist,' where she investigates culturally informed teaching methods, circular leadership models, and her relationship with movement as a bgirl and in Mexican style cumbia. She is the recipient of many awards and fellowships, most recently, she was honored by the Association of Performing Arts Professionals with the Spark of Change Award.

Lisa Niedermeyer hosts this episode exploring the connections between puppetry in contemporary dance and emerging technologies such as augmented reality, artificial intelligence and spatial computing. The episode focuses on a  piece titled "Underground River" which was conceived and directed by Jane Comfort and developed in residency at Jacob's Pillow. We hear from puppet artist Basil Twist, the director and choreographer Jane Comfort, and one of the performers, Stephen Nunley.Watch an excerpt of Underground River: https://danceinteractive.jacobspillow.org/jane-comfort-and-company/underground-river/

Melvyn Bragg and guests discuss the dance which, from when it reached Britain in the early nineteenth century, revolutionised the relationship between music, literature and people here for the next hundred years. While it may seem formal now, it was the informality and daring that drove its popularity, with couples holding each other as they spun round a room to new lighter music popularised by Johann Strauss, father and son, such as The Blue Danube. Soon the Waltz expanded the creative world in poetry, ballet, novellas and music, from the Ballets Russes of Diaghilev to Moon River and Are You Lonesome Tonight.WithSusan Jones Emeritus Professor of English Literature at the University of OxfordDerek B. Scott Professor Emeritus of Music at the University of LeedsAndTheresa Buckland Emeritus Professor of Dance History and Ethnography at the University of RoehamptonProducer: Simon TillotsonReading list: Egil Bakka, Theresa Jill Buckland, Helena Saarikoski, and Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century, (Open Book Publishers, 2020)Theresa Jill Buckland, ‘How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack' (Dance Research, 36/1, 2018); ‘Part Two: The Waltz Regained' (Dance Research, 36/2, 2018)Theresa Jill Buckland, Society Dancing: Fashionable Bodies in England, 1870-1920 (Palgrave Macmillan, 2011)Erica Buurman, The Viennese Ballroom in the Age of Beethoven (Cambridge University Press, 2022) Paul Cooper, ‘The Waltz in England, c. 1790-1820' (Paper presented at Early Dance Circle conference, 2018)Sherril Dodds and Susan Cook (eds.), Bodies of Sound: Studies Across Popular Dance and Music (Ashgate, 2013), especially ‘Dancing Out of Time: The Forgotten Boston of Edwardian England' by Theresa Jill BucklandZelda Fitzgerald, Save Me the Waltz (first published 1932; Vintage Classics, 2001)Hilary French, Ballroom: A People's History of Dancing (Reaktion Books, 2022)Susan Jones, Literature, Modernism, and Dance (Oxford University Press, 2013)Mark Knowles, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (McFarland, 2009)Rosamond Lehmann, Invitation to the Waltz (first published 1932; Virago, 2006)Eric McKee, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time (Indiana University Press, 2012)Eduard Reeser, The History of the Walz (Continental Book Co., 1949)Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, Vol. 27 (Macmillan, 2nd ed., 2000), especially ‘Waltz' by Andrew LambDerek B. Scott, Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (Oxford University Press, 2008), especially the chapter ‘A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz'Joseph Wechsberg, The Waltz Emperors: The Life and Times and Music of the Strauss Family (Putnam, 1973)Cheryl A. Wilson, Literature and Dance in Nineteenth-century Britain (Cambridge University Press, 2009)Virginia Woolf, The Voyage Out (first published 1915; William Collins, 2013)Virginia Woolf, The Years (first published 1937; Vintage Classics, 2016)David Wyn Jones, The Strauss Dynasty and Habsburg Vienna (Cambridge University Press, 2023)Sevin H. Yaraman, Revolving Embrace: The Waltz as Sex, Steps, and Sound (Pendragon Press, 2002)Rishona Zimring, Social Dance and the Modernist Imagination in Interwar Britain (Ashgate Press, 2013)

Melvyn Bragg and guests discuss the dance which, from when it reached Britain in the early nineteenth century, revolutionised the relationship between music, literature and people here for the next hundred years. While it may seem formal now, it was the informality and daring that drove its popularity, with couples holding each other as they spun round a room to new lighter music popularised by Johann Strauss, father and son, such as The Blue Danube. Soon the Waltz expanded the creative world in poetry, ballet, novellas and music, from the Ballets Russes of Diaghilev to Moon River and Are You Lonesome Tonight.WithSusan Jones Emeritus Professor of English Literature at the University of OxfordDerek B. Scott Professor Emeritus of Music at the University of LeedsAndTheresa Buckland Emeritus Professor of Dance History and Ethnography at the University of RoehamptonProducer: Simon TillotsonReading list: Egil Bakka, Theresa Jill Buckland, Helena Saarikoski, and Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century, (Open Book Publishers, 2020)Theresa Jill Buckland, ‘How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack' (Dance Research, 36/1, 2018); ‘Part Two: The Waltz Regained' (Dance Research, 36/2, 2018)Theresa Jill Buckland, Society Dancing: Fashionable Bodies in England, 1870-1920 (Palgrave Macmillan, 2011)Erica Buurman, The Viennese Ballroom in the Age of Beethoven (Cambridge University Press, 2022) Paul Cooper, ‘The Waltz in England, c. 1790-1820' (Paper presented at Early Dance Circle conference, 2018)Sherril Dodds and Susan Cook (eds.), Bodies of Sound: Studies Across Popular Dance and Music (Ashgate, 2013), especially ‘Dancing Out of Time: The Forgotten Boston of Edwardian England' by Theresa Jill BucklandZelda Fitzgerald, Save Me the Waltz (first published 1932; Vintage Classics, 2001)Hilary French, Ballroom: A People's History of Dancing (Reaktion Books, 2022)Susan Jones, Literature, Modernism, and Dance (Oxford University Press, 2013)Mark Knowles, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (McFarland, 2009)Rosamond Lehmann, Invitation to the Waltz (first published 1932; Virago, 2006)Eric McKee, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time (Indiana University Press, 2012)Eduard Reeser, The History of the Walz (Continental Book Co., 1949)Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, Vol. 27 (Macmillan, 2nd ed., 2000), especially ‘Waltz' by Andrew LambDerek B. Scott, Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (Oxford University Press, 2008), especially the chapter ‘A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz'Joseph Wechsberg, The Waltz Emperors: The Life and Times and Music of the Strauss Family (Putnam, 1973)Cheryl A. Wilson, Literature and Dance in Nineteenth-century Britain (Cambridge University Press, 2009)Virginia Woolf, The Voyage Out (first published 1915; William Collins, 2013)Virginia Woolf, The Years (first published 1937; Vintage Classics, 2016)David Wyn Jones, The Strauss Dynasty and Habsburg Vienna (Cambridge University Press, 2023)Sevin H. Yaraman, Revolving Embrace: The Waltz as Sex, Steps, and Sound (Pendragon Press, 2002)Rishona Zimring, Social Dance and the Modernist Imagination in Interwar Britain (Ashgate Press, 2013)

On this day in 1983, Michael Jackson performed the moonwalk for the first time at the Pasadena Civic Auditorium in California. See omnystudio.com/listener for privacy information.

Poet and dance writer Karen Hildebrand hosts this episode focusing on how text and spoken word are used in dance. Included are examples from works by Liz Lerman, Joe Goode, and Carmen de Lavallade. Hildebrand is the former editorial director for Dance Magazine, and a past editor in chief of Dance Teacher magazine.

In this episode, Sasha concludes her dance training history by telling the never-before-told TRUTH about failing her graduate studies, and why improving quickly at ballet doesn't require years of previous training as a child! Get ready for some INSPIRATION, YOU GUYS.

In this episode, PART 1 of 2, Sasha recounts her early dance and music history through the end of undergrad, and confesses to some lies she used to tell... PART 2, coming soon after!

Episode Summary:   In this enlightening podcast episode, Vincent Paterson narrates his illustrious career, detailing his collaborations with Michael Jackson and Madonna. He reminisces about being cast as the gang leader in Jackson's "Beat It" video and their subsequent partnership. Vincent highlights the creative liberties Jackson afforded him, which culminated in the iconic "Smooth Criminal" lean and revolutionized the Super Bowl halftime show. Vincent recounts his initial tense interaction with Madonna during a Pepsi commercial shoot, which later transitioned into a dynamic collaboration for the Blonde Ambition Tour. He discusses his assertive stance during contract negotiations, resulting in fair compensation and setting an industry standard for artists' rights. Listeners are treated to a behind-the-scenes look at the dance world through Vincent's narratives, packed with valuable takeaways for dancers, choreographers, and enthusiasts alike. Join in to explore the life of a dance legend and gain unique perspectives on the performing arts industry.   Show Notes:   00:00:45 - Introduction and Vincent's Career Highlights 00:02:18 - Vincent's New Book and His Work with Michael Jackson 00:03:46 - Vincent's Roles 00:05:38 - Vincent's Role in "Smooth Criminal" 00:10:22 - Vincent's Encounter with Madonna on the Set of a Pepsi Commercial 00:18:55 - Impact of Vincent's Work on Other Dancers 00:28:57 - Vincent's Approach to Choreography 00:37:05 - Vincent's Audition for "Beat It"   Biography:   Vincent Paterson is a renowned director and choreographer with a diverse career spanning film, theater, music, and television. He directed and choreographed notable productions such as "Cabaret" in Berlin and "Evita" in Vienna. Vincent's work on "Gangsta Love" and "Gulliver's Travels" garnered critical acclaim.   In Las Vegas, he helmed Cirque du Soleil's "Viva! Elvis," and he directed the opera "Manon" with Anna Netrebko, conducted by Placido Domingo. His collaborations with Madonna and Michael Jackson are legendary, including directing Madonna's "Blond Ambition Tour" and creating iconic performances like her Marie Antoinette-inspired "Vogue." With Michael Jackson, Vincent choreographed the "Bad Tour" and the Super Bowl halftime show.   Vincent's film contributions include choreographing Lars Von Trier's "Dancer in the Dark." His short film, "Threnody," explored 9/11 through dance, while his choreography graced films like "The Birdcage," "Closer," and "Evita."   He earned Emmy nominations for the TNT Telefilm "In Search of Dr. Seuss" and a Tony nomination for Hal Prince's "Kiss of the Spiderwoman" on Broadway. Vincent has also directed commercials, lectured worldwide, and taught acting and dance in various locations.   Throughout his career, Vincent has collaborated with music legends such as Madonna, Michael Jackson, George Harrison, and Whitney Houston. His accomplishments are celebrated in the Smithsonian publication "Masters of Movement" and the documentary "The Man Behind the Throne."  Connect on Social Media https://www.facebook.com/VINCENTPATERSONOFFICIAL https://www.instagram.com/vlpla Website: https://www.vincentpaterson.com/

Christy Bolingbroke, Executive / Artistic Director of the National Center for Choreography - Akron, hosts this episode focused on the the relationships of choreographic practice and various technologies. Referenced in this episode are works by David Parsons, David Rousseve, Compagnie Kafig, Rennie Harris/Puremovement American Street Dance Theater, and Ragamala Dance Company.Jacob's Pillow Dance InteractiveDavid Parsons CaughtDavid Rousseve/REALITY Stardust

Jennifer Edwards hosts this episode focused on Trisha Brown, one of the most celebrated choreographers to emerge from Judson Dance Theater and the postmodern era. Brown is in conversation with Deborah Jowitt, the influential choreographer, scholar, dance critic, and educator. We also hear from art historian and Brown specialist Susan Rosenberg.Essay on Trisha  Brown: https://danceinteractive.jacobspillow.org/themes-essays/women-in-dance/trisha-brown/ 

Many choreographers draw inspiration from their ancestors, nature, and the spiritual world, and Teena Marie Custer explores some examples with help from Sandra Laronde, Christopher K. Morgan, Ananya Chatterjea, Michelle N. Gibson, and others.

Dr. C. Kemal Nance hosts this episode honoring Dr. Kariamu Welsh and celebrating the dance technique that she developed called Umfundalai.https://www.umfundalai.net

Jennifer Edwards hosts this episode honoring the life and legacy of teacher and choreographic mentor, Bessie Schönberg. Included are excerpts of D.A. Pennebaker's documentary film entitled, "Bessie: A Portrait of Bessie Schönberg," with remembrances from Merce Cunningham, Jerome Robbins, Meredith Monk and from Schönberg herself.Schönberg speaking about how to watch dance: https://www.youtube.com/watch?v=DaAI6uyUn0Y

Welcome to the Instant Trivia podcast episode 889, where we ask the best trivia on the Internet. Round 1. Category: death sentences 1: It was in a letter to Jean-Baptiste Leroy that he wrote nothing is "Certain except death and taxes". Benjamin Franklin. 2: Filmmaker who said, "It's not that I'm afraid to die. I just don't want to be there when it happens". Woody Allen. 3: In a June 1897 issue of the New York Journal he quipped, "The report of my death was an exaggeration". Mark Twain. 4: He was quoted by Plato as saying, "No evil can happen to a good man, either in life or after death". Socrates. 5: Emily Dickinson wrote, "Because I could not stop for death he kindly" did this. stopped for me. Round 2. Category: skunks 1: With a favorable wind, skunks can do this for up to about 23 feet. spray. 2: The skunk lends its name to this foul-smelling "vegetable" found in swamps. skunk cabbage. 3: Name of zee skunk in zee popular Warner Brothers cartoons. Pepé Le Pew. 4: Skunks are the major carriers of this disease in the continental U.S.. rabies. 5: Condition of the skunk in the title of the following 1973 Top 20 hit:"Take a whiff on me, that ain't no rose! /Roll up yer window and hold yer nose". dead and in the middle of the road. Round 3. Category: dance history 1: In the 11th and 14th centuries it was the macabre place where a "danse macabre" was preformed. cemetery. 2: The record for one of these events is held by a couple who danced from August 29, 1930 to April 1, 1931. dance marathon. 3: With her husband, Ted Shawn, this modern dancer began the Denishaw Dance Company and School. Ruth St. Denis. 4: This courtly, elegant dance fell out of favor when the waltz hit the dance halls of Europe about 1769. minuet. 5: Latin chain dance introduced in the 1930s that goes like this: "1-2-3 kick, 1-2-3 kick...". conga. Round 4. Category: epitaphs and tributes 1: Signer of the Dec. of Indep., framer of the Constitution of Mass., second President of the United States. John Adams. 2: "And away we go". Jackie Gleason. 3: Outlaw: "Murdered by a traitor and a coward whose name is not worthy to appear here". Jesse James. 4: Revolutionary War hero: "His spirit is in Vermont now". Ethan Allen. 5: 1939 Oscar winner: "...you are a credit to your craft, your race and to your family". Hattie McDaniel (for her role in Gone with the Wind). Round 5. Category: crayola crayons 1: Shades of this color include Magic Mint and Granny Smith Apple. green. 2: You might use this shade of yellow to color the songbird of the same name. Canary. 3: What's up, Doc?--in 1990 Crayola dangled a new orange crayon called Neon this. Carrot. 4: Billy Crystal gets all "fired up" for this reddish-brown classic; it's the color he used as a kid to draw autumn in N.Y.. Burnt Sienna. 5: Simple, but not surprising--It's the favorite color of the current California governor. gray. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

PeiPei is a stuntwoman and dancer known for her work on Stranger Things and Obi-Wan. We talk about dance influenced her movement style and how she designs action. You can see her IMDB here: https://www.imdb.com/name/nm1482700/ Edited by Angela Jordan Action Talks on YouTube: https://www.youtube.com/playlist?list=PLKvT1cdaRn78tV4vF78InER7GhxCKaxU5 Action Talks on Spotify: https://open.spotify.com/show/7D289YtkiQIkSVhNLDX8O2 Action Talks on iTunes: https://podcasts.apple.com/us/podcast/action-talks-with-eric-jacobus/id1686666319 Telegram: t.me/ericjacobus My studio SuperAlloy: www.superalloyinteractive.com Blog: www.ericjacobus.com Timestamps 00:00:58 Dance History and influences 00:08:06 Dance similarities to fight choreography 00:09:04 Martial art films background 00:12:25 Pursuing the arts disciplines 00:18:10 Getting into stunts 00:30:49 Film fighting approaches 00:35:57 Sword fighting 00:39:49 Transition from animation previz to stunts 00:45:23 Doubling actors for stunts 00:51:43 Being present when performing 00:54:10 Coordinating stunts 01:03:53 Can stunt performers learn from Animators? 01:09:48 Difference in approaches in American films, TV, and Hon Kong films 01:20:55 What Peipei looks for

On this day in 1961, Russian ballet dancer Rudolf Nureyev defected from the Soviet Union at an airport in Paris. See omny.fm/listener for privacy information.

David Finnigan outraged the right-wing commentariat with his breakthrough play, Kill Climate Deniers. Now he's back with another play that confronts audiences with the urgent challenge of climate change: Scenes from the Climate Era. But why does climate action remain a niche topic on our mainstages?Also, The Lucky Country is a new Australian musical at the Hayes Theatre which digs into the rich and complex variety of Australian life, and The Australian Ballet is presenting a new double-bill of Australian work under the title Identity. So, how long have Australian identities and Australian stories been featured in mainstream ballet?

David Finnigan outraged the right-wing commentariat with his breakthrough play, Kill Climate Deniers. Now he's back with another play that confronts audiences with the urgent challenge of climate change: Scenes from the Climate Era. But why does climate action remain a niche topic on our mainstages? Also, The Lucky Country is a new Australian musical at the Hayes Theatre which digs into the rich and complex variety of Australian life, and The Australian Ballet is presenting a new double-bill of Australian work under the title Identity. So, how long have Australian identities and Australian stories been featured in mainstream ballet?

Mailbag episode! The hosts discuss two topics suggested by listeners: the dance world's belated but significant incorporation of intimacy directors, and some of our favorite forgotten moments from dance history. A transcript of this episode is available here: thedanceedit.com/transcript-episode-151Visit/add to the Dance Media Events Calendar: dancemediacalendar.comPodcast listeners can save $5 on a Dance Magazine subscription. Claim the offer here: dancemagazine.com/offerLinks referenced in/relevant to episode 151:-Recent stories on intimacy direction in dance:nytimes.com/2022/04/13/arts/dance/intimacy-directors-ballet.htmldancemagazine.com/intimacy-consultant-anisa-tejpardancemagazine.com/intimacy-directing-Pointe's interview with ballet historian Peter Koppers about forgotten Black ballerina Maria Skorsiuk: pointemagazine.com/maria-skorsiuk

THE TALENT OF LA NIJINSKA. Lynn Garafola is a dance historian and critic. Professor Emerita of Dance at Barnard College, Columbia University, she is the author of Diaghilev's Ballets Russes and Legacies of Twentieth-Century Dance. A regular contributor of articles and essays to both scholarly and general interest publications, she is the former editor of the book series "Studies in Dance History," the founder of the Columbia University seminar Studies in Dance, and the curator of exhibitions about the New York City Ballet, Jerome Robbins, and, most recently, the Dance Theatre of Harlem. Her latest book La Nijinska: Choreographer of the Modern is the first to document the full scope of Bronislava Nijinska's creative work and rewrites the history of Euro-American ballet, beginning with Serge Diaghilev's celebrated Ballets Russes in the early 20th century and continuing until the 1960s.

Classical repertoire dominates Australian ballet seasons, but in the mid-20th century, new work was a key priority for Australian ballet companies. What has become of these works? Our Top 5 Arts resident Yvette Grant introduces us to the prolific choreographer Laurel Martyn (1916-2013) and we learn about Yvette's own mission to resurrect forgotten Australian ballets.Also, to mark Barbra Streisand's 80th birthday, some of our favourite musical theatre performers are joined by symphony orchestras around the country for a celebration of Barbra's most memorable songs and we look at how Tchaikovsky's ballet The Nutcracker — now 130 years old — came to become a fixture of the Christmas calendar after having little impact in its native Russia.

Classical repertoire dominates Australian ballet seasons, but in the mid-20th century, new work was a key priority for Australian ballet companies. What has become of these works? Our Top 5 Arts resident Yvette Grant introduces us to the prolific choreographer Laurel Martyn (1916-2013) and we learn about Yvette's own mission to resurrect forgotten Australian ballets. Also, to mark Barbra Streisand's 80th birthday, some of our favourite musical theatre performers are joined by symphony orchestras around the country for a celebration of Barbra's most memorable songs and we look at how Tchaikovsky's ballet The Nutcracker — now 130 years old — came to become a fixture of the Christmas calendar after having little impact in its native Russia.

Classical repertoire dominates Australian ballet seasons, but in the mid-20th century, new work was a key priority for Australian ballet companies. What has become of these works? Our Top 5 Arts resident Yvette Grant introduces us to the prolific choreographer Laurel Martyn (1916-2013) and we learn about Yvette's own mission to resurrect forgotten Australian ballets. Also, to mark Barbra Streisand's 80th birthday, some of our favourite musical theatre performers are joined by symphony orchestras around the country for a celebration of Barbra's most memorable songs and we look at how Tchaikovsky's ballet The Nutcracker — now 130 years old — came to become a fixture of the Christmas calendar after having little impact in its native Russia.

In this episode, we join Pillow Scholar Theresa Ruth Howard in conversation with Lourdes Lopez on the occasion of her tenth anniversary as artistic director of Miami City Ballet.*This episode was produced by Lisa Niedermeyer. 

Or Boogie Past, Think IQC, Butler Robot, Righteous Strength, Moon-Cats, Sataned Oysters.

Sandra Agustin; she/her/titaCre8tive Navigator Facilitator/ArtistSandy has an extensive history of arts, social and racial justice and leadership. She is a nativeMinnesotan, the youngest child of a Filipino immigrant and 5th generation Euro-Minnesotan.Since the age of 9, she has professionally performed and taught dance, later moving into artsadministration as executive and artistic director at Intermedia Arts where she curated,fundraised, managed, consulted artists and built relationships. She is a former co-artistic coremember of Mu Performing Arts where she acted, directed, choreographed over 20 shows andwas an early member of the Asian American Renaissance. Since its inception in 2002, Sandyhas frequently co-facilitated cohorts of arts and community development leaders in the Creative Community Leadership Initiative alongside Bill Cleveland of the Center for the Study of Art and Community. She has served on non-profit boards including the Minnesota Dance Alliance, Minnesota Citizens for the Arts/MCA, and currently serves on the boards of Maji ya chai Land Sanctuary, Speaking Out Collective and the Tango Society of Mn. As a resident teaching artist through the Children's Theatre Company's Neighborhood Bridges program Sandy led an in-school critical literacy and theatre program engaging young people to question power, write their own stories and develop community . She recently co-founded Theatre 55 providing performance opportunities for folks over 55 years of age, where she also occasionally performs and choreographs. Sandy is a part of the Southwest Minnesota Housing Partnership's artist roster, working in St. Peter, MN. She is a performer and choreographer and contributor with Pangea World Theatre's latest production called Life Born of Fire, an ensemble based public performance ritual, created in a post-uprising Minneapolis environment.Sandy's recent facilitations have included ArtPlace America and the Local Control Local Fields program, Southwest Initiative Foundation, a rural community development organization; Leadership on the Way a two-year leadership mentoring program for associate Lutheran pastors across the US; Longfellow Rising a newly formed organization committed to an equitable rebuild in the wake of George Floyd's murder and the uprisings that took place in South Minneapolis. She considers herself a cre8tive navigator, helping individuals and organizations to find their creative "north". She sees her calling and role in shifting energy, holding tender and playful space and validating all perspectives. She brings creative/arts based engagement tools and deep listening practices as mentor-learner into every and all settings. She is currently the Director of Creative Engagement for Inspire to Change, LLC., whose mission is to support purpose driven change and change makers around the globe.Aside from the arts, she is an advocate-lover for all animal species, the environment and HIV/AIDS causes.

A transcript of this episode is available here: https://thedanceedit.com/transcript-episode-120Subscribe to The Dance Edit Extra: https://podcasts.apple.com/us/podcast/the-dance-edit-extra/id1579075769Visit/add to the Dance Media Events Calendar: https://dancemediacalendar.com/Get the latest dance news direct by subscribing to our free newsletters. Find the ones that match your interests: http://www.dancemagazine.com/subscribeLinks referenced in/relevant to episode 120:-Dance Magazine College Guide: https://collegeguide.dancemagazine.com/-New York Times "Overlooked" obituary for designer Zelda Wynn Valdes: https://www.nytimes.com/interactive/2019/obituaries/zelda-wynn-valdes-overlooked.html-The tragic story of the Gale sisters: https://friendsofmountmoriahcemetery.org/about/notable-burials/cecilia-ruth-adeline-and-hannah-gale-ballerinas/

Renée Camus discusses her journey from dance history to pop culture.

YOUR SHOW Episode 52 features the journey of Patricia Hernandez in dance and history! Patricia is an adjunct professor in history at Texas A&M International University in Laredo, TX. We discuss the connection between dance and the study of history in her life, how she made that connection, her experiences traveling abroad and visiting historic sites.

In the debut episode of From the Mic we meet Phil Jamison of Asheville, North Carolina. Phil is nationally-known as a dance caller, old-time musician, and flatfoot dancer. He has called dances, performed, and taught at music festivals and dance events throughout the U.S. and overseas since the early 1970s, including over forty years as a member of the Green Grass Cloggers. His flatfoot dancing was featured in the film, Songcatcher, for which he also served as Traditional Dance consultant. From 1982 through 2004, he toured and played guitar with Ralph Blizard and the New Southern Ramblers. He also plays old-time fiddle and banjo.Over the last thirty years, Phil has done extensive research in the area of Appalachian dance, and his book Hoedowns, Reels, and Frolics: Roots and Branches of Southern Appalachian Dance (University of Illinois Press, 2015) tells the story behind the square dances, step dances, reels, and other forms of dance practiced in southern Appalachia. A 2017 inductee to the Blue Ridge Music Hall of Fame, Phil teaches traditional music and dance at Warren Wilson College in Asheville, North Carolina, where for twenty-five years he served as coordinator of the Old-Time Music and Dance Week at the Swannanoa Gathering.Click here to download a transcript of this episode.Music and soundbites featured in this episode (in order of appearance):“Blizard Train” – “Blizard Train,” Ralph Blizard & the New Southern Ramblers (June Appal Records, 1989) Ralph Blizard (fiddle), Phil Jamison (guitar), Gordy Hinners (banjo), Andy Deaver (bass).Phil Jamison, Thomas Maupin, and friends flatfooting at the Clifftop festival in 2010Phil calling the Grapevine Twist square dance and a big set dance at the 2011 Dare to be Square in Brasstown, NCHistoric recordings from Phil (view the entire collection referenced in his book here):Mellie Dunham, "Chorus Jig" contra dance (1926)Samantha Bumgarner, calling a Southern (big ring) square dance to "Fly Around My Pretty Little Miss" (1924)Ernest Legg calling "Chase the Rabbit" square dance with the Kessinger Brothers playing "Devil's Dream" (1928)“Zai Na Yaoyuan De Difang” (In That Faraway Place) – “March Celebration: Chinese-Appalachian Collaborations,” Jenny & the Hog Drovers and Manhu (recorded in Shanghai, China, 2017) Maddy Mullany & Clarke Williams (fiddles), Phil Jamison (banjo), Hayden Holbert (guitar), Landon George (bass), Jin Hongmei (vocal)Watch a video of the group performing in ChinaOther LinksPhil's website, where you can also order his book, Hoedowns, Reels, and Frolics: Roots and Branches of Southern Appalachian DanceSquare 'em up! A Dare to be Square event is happening in Dumfries, Virginia, May 6 - 8, 2022!Crazy about squares? There is SO MUCH on the Square Dance History Project webpage.Phil was featured in a great episode of Radio Lab exploring the history of square dance called "Birdie in the Cage"You'll find some of Phil's writing on dance traditions here on his website

Welcome to Beyond the Corps Podcast! Created by young ballet dancer Claudia Suarez, Beyond the Corps is her original idea of creating a space, different from the traditional dance magazines, in order to dive deep into the history of dance. And with what purpose? To preserve the history, bring more people to the theater, and improve dancers' performance and interpretation. This episode highlights who Claudia is, what is the overall mission of Beyond the Corps, and what is the main "why" of studying dance history. Explore more of Beyond the Corps: Find articles, the Blog, and more insights at www.beyondthecorps.com Instagram: @beyondthecorps Youtube Channel: https://www.youtube.com/channel/UCOVQMYjZnzYvHyZf4UqHD6g --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This episode is also available as a blog post: https://thecitylife.org/2021/08/12/restart-stages-comes-to-a-close-this-september-with-the-metropolitan-opera-summer-hd-festival-big-umbrella-outdoors-and-artistic-performances-celebrating-civil-rights-leaders-and-nyc-dance-history/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Do you REALLY need to pay for Astronomy and Dance History classes to get your college degree? Ducere CEO Mat Jacobson joins Doug Wagner. Host of “The Morning Show with Doug Wagner” on Newsradio 600WMT and NewsTalk 1420WOC, broadcasting from iHeartMedia Cedar Rapids.

Hi y'all it's Amber! ☺ Yin Yang is in this thang!! ☯ FOLLOW, RATE, & SUBSCRIBE ♥ -- Please & Thank you! Connect with me! IG: @yingyangpod Take a look at my cooking/food blog here. IN TODAY'S EPISODE WE DIVE INTO INDIGENOUS DANCE (SPECIFICALLY FORMS OF DANCE ORIGINATED BY BOTH NATIVE AMERICANS & AFRICANS), ITS ORIGINS, AND SUPPORTING RESEARCH THAT IT CAN HEAL US. Reference links from this episode: About African dance - https://study.com/academy/lesson/african-dance-moves-costumes-history.html Dr. Nicole Monteiro & Dr. Diana J. Wall's essay titled “African Dance As Healing Modality Throughout The Diaspora: The Use Of Ritual & Movement To Work Through Trauma - https://www.researchgate.net/publication/251237748_African_Dance_as_Healing_Modality_Throughout_the_Diaspora_The_Use_of_Ritual_and_Movement_to_Work_Through_Trauma The power of dance: health & healing - JL HANNA: https://pubmed.ncbi.nlm.nih.gov/9395627/ 'Native American Rain Dance: History & Ceremony' - https://study.com/academy/lesson/native-american-rain-dance-history-ceremony.html Create your own podcast for FREE on anchor.fm TODAY! - Tell them YIN YANGIN' sent ya! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/yinyangin/support

Stripper dance, just like the strip club industry, is rife with cultural appropriation. Because we live in a white supremacist capitalist patriarchy, the appropriation of BIPOC dances, specifically within the strip club industry, which actively disenfranchises BIPOC strippers (particularly & especially Black strippers), is nothing short of an act of cultural and interpersonal violence.This panel discussion includes four guests: Joy, a black stripper/pole dancer; dancehall queen Hershey (also searchable: bliss_movements617); Jamaican dancer, author, and DJ Bianca Rose [aka Bianca Star]; and Moroccan dancer/Raqs Sharqi dancer Soumaya MaRose. Let's stay connected!Join my free newsletter, follow me on Instagram, and visit astrippersguide.com for resources & offerings.xo,LeilahFounder of A Stripper's Guide

Hello friends! Hope everyone is doing well. In this Episode of The Dance Sessions Pod., we will discover some information about Dance History associated with the peoples of early America, the American Indians. I have the greatest respect for all the tribes as they are recognized in history and present day. Since I am by no means a historian, this episode is strictly as fact based as I could make it using the following sources: D, Michael, and Trisha Howson. “Native American Dances .” Legends of America, Kathy Weiser/Legends of America, 2020, www.legendsofamerica.com/na-dances/. Mason. “Dance (Pages. 151-154).” Encyclopedia of North American Indians, by Frederick E. Hoxie, Houghton Mifflin, 1996, pp. 151–154. I hope you all can take something away from the many cultures and dance traditions. Each tribe is so uniquely different in their beliefs and it fueled their dance traditions and how they portrayed symbolism in their art. Enjoy this semi-dive into American Indian culture! Visit the places I have listed to dive even deeper into these amazing cultures. -Chris

http://annettbone.com/wp-content/uploads/2018/11/African-American-Culture.png ()The truest expression of a people is in its dance and in its music. Bodies never lie. ~Agnes de MilleThere are times when the simple dignity of movement can fulfill the function of a volume of words.~Doris HumphreyBackslide, Apple Jack, Lockin, Electric Boogaloo, Urban Cha cha, and hip hop--what do you picture when you hear these words? If you know your dance history, these are dances and dance traditions from African American Culture. You know that saying, you don't know what you don't know? Well it turns out, not surprisingly that there was a lot I didn't know about these dance forms and traditions until I got to hear an engaging and entertaining discussion with dancer and dance historian E. Moncell Durden and curator Vida L. Brown at the California African American Museum in Los Angeles. From video clips, to demonstrations, to dialogue, I loved this experience and I'm going to share a number of things that stood out to me. This is in no particular order: Dancing for life's sake, versus dancing for arts' sake was the origin of many dance forms. Dance as worship. The style of KRUMP releasing negative energy. It's free, it can be exaggerated and energetic and it's a non-violent way to release this negative energy. Kingdom Radically Uplifted Mighty Praise is the acronym. I've observed cyphers in the past month and I didn't know it is a form of bonding. The circle is a space where there is encouragement. Finding and claiming space for one's own identity is the purpose behind many of these dance forms. The Soul Train Line--the dance/music show from 70's was about building community. There was no lead person and license to be your own person. You have that support as a whole but have the freedom of individuality. I love that! The evolution of dances, where what you see, has been done before. Seeing historical footage via images and video in comparison with more current media is proof of reinvention and repurposing. Earth vs heaven. Earth being grounded vs. European dance forms where there is more reach to the sky (heaven). There exists a Eurocentric ideology of the hierarchy of dance that certain forms are more important than others. I'm all about studying different styles and it's critical to know that one style is not more valuable than another. We haven't realized the value of gestures, and there is so much meaning behind them. I am fascinated with dance styles that use hand gestures, similar to mudras in Yoga. [youtube https://www.youtube.com/watch?v=veIK_CarrPA] [youtube https://www.youtube.com/watch?v=3P_nS9bwA58] Links from this session:http://annettbone.com (Get my FREE Audio Resource) https://kaufman.usc.edu/faculty/moncell-durden/ (E. Moncell Durden) https://caamuseum.org/programs/current/in-conversation-e-moncell-durden-and-vida-l-brown (Vida L. Brown) https://caamuseum.org/ (California African American Museum) https://www.redbull.com/us-en/the-importance-of-the-cypher (Cyphers) Would you review The DancePreneuring Studio?I would be extremely appreciative if you would subscribe and leave your feedback on Apple Podcasts or Stitcher Radio. It really helps if you do it through the native Apple Podcast App on your smart device. Thanks so much!